Set in Chicago in the 1980s, Glengarry Glen Ross still resonates today with its condemnation of American business and the testosterone-filled culture that runs it. In a world where you eat what you kill, men are driven to desperate measures to survive, and thrive in a twisted hierarchy of “real men” and competition for big-ticket prizes.

The story opens at the local Chinese restaurant, where we get a lay of the land and a taste of its inhabitants. Veteran salesman Shelly “The Machine” Levine (Daryn DeWalt) has been in a serious slump and makes a desperate plea to office manager John Williamson (Chris Coculuzzi) to get some prime leads. The outraged Dave Moss (Neil Hicks) vents to his side-kick co-worker George Aaronow (Jerrold Karch), hatching a plan to take the good leads by force and put them to use for their own benefit. And the slick Richard Roma (Derek Perks) spots a mark in the shy, unassuming James Lingk (Abbas Hussain).

With Act Two opening on their pillaged office, Detective Baylen (Frank De Francesco) has taken up residence, interviewing each man one by one. Shelly seems to have emerged from his slump – and big time. And Roma is celebrating record sales, earning him a car. That all changes when a sheepish James arrives, putting that deal in jeopardy. Loyalties are tested and stand-offs get ferocious as things go to hell, and we get closer to discovering who broke in and stole the leads.

Nice work from the entire cast in this intense, hot-tempered and darkly funny Mamet classic. Stand-outs include DeWalt, who finds a great balance between flop-sweat desperation and cocky showmanship as Shelly Levine; it’s a roller coaster of extreme highs and lows as Shelly fights for his livelihood, vacillating between winning and losing. Perks is a charming scoundrel as Roma; a suave and seductive player, and a sharp marksman, Roma is nevertheless a thoughtful philosopher and a loyal guy—crediting Levine as his mentor. Just don’t get on his bad side.

Coculuzzi gives us an icy, detached Williamson, who’s a bit of a cypher; the company ‘Yes man,’ Williamson’s a classic case of management who knows zero about the work he’s managing—and who deeply enjoys the withholding and proffering of power. And Karch gives a compellingly understated and comic performance as George Aaronow; a quiet, sweet guy, Aaronow may have been duped by Moss, but he knows how to look after himself.

An edgy, erotic, sometimes chilling story of manipulation, desire and social gamesmanship, Amicus’s production of Les Liaisons Dangereuses plays out on a traditional proscenium stage, complete with drawn curtains, on a minimalist but gorgeous chess-inspired set (Alexis Chubb), with stunning period costume and wigs (Lindsay Forde), and sound design that includes original compositions (John Stuart Campbell, ft. Vivien Shepherd on vocals).

The Marquise de Merteuil (Renée Cullen) wants revenge against a former lover, and turns to another former lover, the notorious Vicomte de Valmont (Chris Coculuzzi), with a plan for him to seduce the man’s intended fiancée, the young Cécile Volange (Christina Leonard). In exchange, Merteuil promises Valmont a night of passion. Valmont has seduction plans of his own, however; he intends to bed the pious, loyal and married Présidente de Tourvel (Melanie Leon), a woman equally famous for her virtue as he is for his vice.

When his plans at his aunt’s home (Mme de Rosemond, played by Jenn Keay) are foiled by Cecile’s mother Mme de Volange (Kerrie Lamb), Valmont decides to go along with Merteuil’s plan, as the two also conspire to assist Cécile in her secret romance with the young Chevalier Danceny (Conor Ling). Meanwhile, Valmont has set his man servant Azolan (Andrew Batten) to spy on Tourvel, via his relationship with her maid; all this while paying regular visits to his favourite courtesan Émilie (Lindsay Forde). Constantly put off by Merteuil, Valmont goes to great lengths to procure payment for his services to her – and finds himself tangled in his own web.

Cullen and Coculuzzi are nicely matched as Merteuil and Valmont, who are both cunning as cats and master manipulators. Cullen’s Merteuil is coldly beautiful and ruthless; a woman tired of the second-class status afforded to her sex, she’s learned to take power by making pawns of those around her. Coculuzzi is diabolically charming and witty as Valmont; a sexy beast who’s gained notoriety as a callous rake (i.e., heartbreaking man whore), Valmont enjoys the game – but, unlike Merteuil, he’s more about the chase than the kill. As Tourvel, Leon brings a lovely sense of conflict and repressed lust; a gentle, pious soul, she is drawn to Valmont – and as much as she fights her feelings, she can’t help but succumb to the burgeoning passion between them. Some remarkable two-hander scenes, particularly in Act II, between Merteuil and Valmont (war) and Valmont and Tourvel (beyond my control).

Chris Coculuzzi (Valmont) & Melanie Leon (Tourvel)

Leonard gives Cécile a great combination of wide-eyed innocence and insatiable lust; schooled by Valmont, she learns things that aren’t taught to nice young ladies. And Ling’s Danceny is adorably awkward and proper; on the brink of manhood, he is innocent and naïve – and he too learns a thing or two.

Excellent work from the supporting cast: Lamb’s prim and trusting Mme de Volange; Batten’s wry-witted and resourceful Azolan; Keay’s wise and kind Mme de Rosemonde, who’s onto more than you might think; Forde’s good times party girl Émilie; and Jeff Burke gives a nice turn as the Major-Domo, who’s seen so much and says so little.

In 1542, banished from a French ship by a heartless, domineering brother, Marguerite de Roberval is set afloat on a skiff towards a remote island off the north coast of Newfoundland. With her are her faithful nurse and her lover Eugene. Left with scant provisions and in fear of never seeing home or loved ones again, they land on the Isle of Demons with the prospect of perishing in the face of cold, harsh winters and predatory wildlife.

This is the story, a little-known piece of Canadian history, brought to life on stage in an hour-long, emotionally and psychologically packed play by Shirley Barrie. This is I Am Marguerite, directed by Molly Thom – and it opened to a packed house at Alumnae Theatre last night.

The storytelling is taut and compelling, shifting in and out of memory and hallucination, and honed over the past decade and after having taken on various forms – from play to opera libretto back to play again – and executed by an excellent cast. As Marguerite, Daniela Pagliarello does a remarkable job of driving the story, not to mention a lovely job of capturing the youthful passion, lust for life, curiosity and rebellious streak of the young French noblewoman. Teetering on the edge of madness, struggling with physical, emotional and mental hardship, she vacillates between a ferocious fight for survival and a desperate surrender to the memories and faces that haunt her in her loneliness. And, like Marguerite, we often find ourselves wondering if the faces are real or imagined ghosts from her past.

Joining Pagliarello is an outstanding supporting cast. As Marguerite’s ambitious, older brother Jean-François, Chris Coculuzzi gives us a strong performance of a man as driven and strong-willed as his younger sister, but with a dark, cruel edge. Proud, controlling and manipulative, he is not above using those closest to him as a means to his own ends. Heli Kivilaht is a delight as Marguerite’s former nurse and present companion Damienne, a loving, nurturing and supportive soul with an irreverent, no-nonsense sensibility. Sara Price brings layers of warmth and genuine goodness to the otherwise imperious and proper Queen of Navarre. As Marguerite’s lover Eugene, Christopher Oszwald gives us a man of quiet strength, a romantic, and a lover of music and beauty who is willing to risk it all for the woman he loves. And the love and loyalty of Eugene and Damienne’s choice to be banished with Marguerite make subsequent events all the more heartbreaking.

With big shouts to a most excellent design team. Marysia Bucholc has created a magnificent, abstract set design – the layers and multi-dimensional, almost sculptural, landscape sharp and rippling outward, with eerie, weeping trees; and props by Razie Brownstone – the rocks, bones and rustic supply trunk – dress an otherwise barren space. The characters are honed and brought to brilliant living colour with stunning period costumes by Peter DeFreitas and Toni Hanson. Angus Barlow’s evocative sound design features haunting atmospheric composition by James Langevin-Frieson (who composed theme music for Marguerite, played at the beginning and the end of the play), as well as period dance and lute music, going from dulcet to frenetic as the music mirrors the fragility of Marguerite’s mind.

I Am Marguerite is a powerful, moving and beautifully raw piece of storytelling.

I Am Marguerite runs on the Alumnae Theatre mainstage until April 25, featuring a talkback after the matinée on April 19. Advance tickets available online or at the box office an hour before curtain time (cash only).

Here’s a little teaser by way of the show trailer. Go see this.

Department of Corrections: An earlier version of this post neglected to mention that the original music included in Angus Barlow’s sound design was composed by James Langevin-Frieson. This has since been corrected.

From its first moments, where ensemble actors Diana Franz and Meara Khanna open with a once-upon-a-time prologue, to the final discovery and acknowledgement of true feelings, Sabrina Fair is an engaging – and socially astute – piece of theatre. Not a mere 20th century rom com, Taylor’s play – and Amicus’s interpretation – is a combination of silly and sublime, as the story explores class and gender, and being true to oneself in the shifting social landscape of the early 1950s.

Shepherd has assembled a delightful cast for this theatrical adventure, with several stand-outs. Amy LeBlanc is a shimmering bundle of energy and wonder as Sabrina, a romantic realist, inspired by poetry and the excitement of the new and undiscovered – totally in love with the world even as she struggles to find her place in it. Chris Coculuzzi’s Linus is nicely layered; a man of panache and wit with killer business instincts – the tin man puppet master who’s forced to find his heart. Peter Bloch-Hansen is a treat as Mr. Larrabee, the somewhat befuddled family patriarch, whose bizarre hobby of attending funerals serves as a touchstone of certainty in a world he no longer understands. As his wife Maude, Sandra Cardinal is more self-aware than at first glance, with her sharp-witted – if not put upon – observations of society and family. And Heather Goodall, as Maude’s long-time chum Julia, hits just the right notes as the stylish, professional socialite, her self-possessed, well put-together exterior masking the vulnerability and loneliness beneath the surface. Nice work from Adam Brooks as Linus’s impetuous, boyish younger brother David; and Jeff Burke does a lovely job as Fairchild, Sabrina’s father and the family chauffeur, an extremely well-read man who’s full of surprises himself. All supported by a fine group of ensemble players.

With shouts to Alexis Chubb’s light, minimalist set design: the Larrabee’s garden patio, which is especially beautiful during the evening party scene, with its suspended multi-coloured lanterns and votive candles. And to Meredith Hubbard’s stunning costume design, which brings the palette and silhouette of this period – and this world – to life, especially with Sabrina’s and Julia’s frocks.

Amicus Productions’ Sabrina Fair is a charming, joyful celebration of life and love in a changing world.

Sabrina Fair continues its run at the Papermill Theatre until February 7, with matinée performances on February 1 and 7 at 2 p.m. Tickets are $22 regular and $20 seniors/students – available online or by phone at 416-860-6176.

Get yourself out for a wonderful time at the theatre. And, in case you were wondering – yes, this is the play that inspired the film Sabrina and the 1995 remake. In the meantime, check out the Amicus trailer:

Department of Corrections: Due to a last-minute casting change, one of the two prologue actors was incorrectly identified as Amaka Umeh and should have been noted as Diana Franz; this has been corrected.

Spent a highly entertaining afternoon at The Papermill Theatre (Todmorden Mills, 67 Pottery Rd.) yesterday, with Amicus Productions’ performance of Cyrano De Bergerac, written by Edmond Rostand, adapted by Chris Coculuzzi and Roxanne Deans, and directed by Mary Dwyer (Toronto Fringe fans may have seen their marvelous 80-minute memory play version of Cyrano, performed outdoors at the 2004 fest).

Amicus does a really nice job with this classic tale of the mercurial poet, philosopher and swordsman, whose unusually long nose is a distinct social liability among those who are unwilling or unable to look past it. This new, full-length version is a more linear piece of storytelling, hearkens back to Coculuzzi and Deans’ original script, based on the translations of Gladys Thomas, Mary F. Guillemard and Howard Thayer Kingsbury.

Excellent work from the cast, including several multi-tasking supporting players. Coculuzzi does a remarkable job in the title role, bringing a lively yet grounded combination of wit, grace and spleen to a man who, despite his rough edges and brash behaviour, is possessing of a vulnerable heart and a romantic soul. Celeste Van Vroenhoven gives us a nicely layered Roxane, sweet and loyal, also a romantic at heart, and naive at first about love and human behaviour – but unlike both Cyrano and Christian, fearless in the face of love. Paul Cotton does a nice job as Roxane’s earnest admirer Christian, hot and youthful in love – shallow, but not ill-meaning. The triangle here is a lovely illustration of superficial and deep love, both of which can be communicated via poetry and sweet words.

Derek Perks is deliciously diabolical as the smirking and snake-like De Guiche, the noble vying for Roxane’s affections – and not above playing dirty to win her. And Stephen Flett is a delight as the ebullient Ragueneau, the chef with the heart of a poet. And big shouts to Roxanne Deans for stepping in at the top of the show to stand in as Le Bret, when actor Henrik Thessen got stuck in traffic on the way to the theatre.

The design team did a marvelous job, producing a beautifully minimalist set – both practical and aesthetically pleasing – as well as assembling striking costume and evocative music of the period: Arash Eshghpour (set), David Buffham (lighting), Farnoosh Talebpour (costume) and Dave Fitzpatrick (sound). With kudos to Naomi Priddle Hunter for choreographing the exciting and fun sword fights.

Amicus Productions’ Cyrano De Bergerac is a highly entertaining and moving adventure in wit, swordplay and love. This is some big fun for all ages – so get yourselves over to the Papermill Theatre to see this.

– Thomas Mendip in The Lady’s Not For Burning (from director’s program notes)

Alumnae Theatre Company’s production of The Lady’s Not For Burning, directed by Jane Carnwath, brings the wit, wonder and wisdom of Christopher Fry’s play to life through sight, sound and poetic wordplay – an excellent cast and a beautiful show.

The marvelous ensemble includes some remarkable stand-outs. Chris Coculuzzi gives us a Thomas Mendip that combines the melancholy philosophy of a Jacques with the good-humoured wit of a Fool, and Andrea Brown is luminous as Jennet Jourdemayne, quirky, sharp-witted and compassionate. Together, their performances show us opposite perspectives of the all too fleeting realization of the nature of the human condition: we live, suffer out our short time in these bodies – yes – and we can choose to bemoan that fact or savour the brief moments we are given. Two sides of the same coin. Chris Whidden, as the put-upon but boyishly optimistic Mayor’s clerk, takes young Richard from boy to man as he stands up for what is right as well as for himself, with particularly sweet bashfulness in the presence of love. Paul Cotton brings to Humphrey Devize a lovely combination of wry wit and desperate longing born of boredom and ennui. Peter Higginson is adorable as the kind-hearted, thoughtful Chaplin who longs to be a musician, and Ian Orr is hilariously convincing as the drunken and disoriented Matthew Skipps.

With big shouts to the most excellent design team: Margaret Spence (costumes), Ed Rosing (set/lighting), Mike Peck (master carpenter), Angus Barlow (sound) and Razie Brownstone (props) for bringing the sights, sounds and textures of this world to life. My personal thanks to the painting crew, who assisted Ed and me with the set: Cody Boyd (who was also Ed’s design assistant), Razie Brownstone, Joan Burrows, Margot Devlin and Dorothy Wilson. And to the intrepid producer team of Barbara Larose and Ellen Green, and stage manager Margot “Mom” Devlin and ASM Tara Gostling for holding this massive production together.

A world-weary soldier longing for the noose. A bright young woman accused of witchcraft. Both eccentric in their own way, standing out from ordinary folk who don’t look beyond their own front doors. The silly superstitious collective mind of the mob. Kind spirits and good hearts. What’s not to love?

Alumnae’s production of The Lady’s Not For Burning continues on the mainstage until February 8, with a talkback with the director, cast and design team after the matinée on Sunday, February 2.

Coming soon to the cowbell blog: The Lady’s Not For Burning set comes to life. A slide show of the scenic painting process.

Last night, I headed to the Papermill Theatre to see Amicus Productions’Dr. Jekyll and Mr. Hyde, adapted from the Robert Louis Stevenson novella by Jeffrey Hatcher and directed by Harvey Levkoe. Not to be confused with the musical version that has also been playing in Toronto recently.

Dr. Jekyll (Christopher Irving) is man driven to find a way through that door of the mind that leads to man’s baser, primal nature – the dark side of his personality – to study it in order to ultimately control it. What he doesn’t count on is his own dark side becoming physically manifest, to the point that a very different man emerges, bursting forth and wrecking havoc in the city, engaging in every form of debauchery – even to the point of torturing, maiming and murdering. And even when Jekyll realizes what is happening, he is somehow able to dissociate those evil actions – they were done by someone else: Mr. Hyde (played by a mini-ensemble of four multi-tasking actors: Chris Coculuzzi, Stephen Flett, Derek Perks and Jenn Sellers). As we are warned during a medical school lecture: Just because you can do something doesn’t mean you should. Of course, it all ends very badly for the “good” doctor.

Wayne Cardinalli’s minimalist set design is incredibly effective. The central set piece, the rotating door – red on the side facing the street and steel blue grey on the inside – is a perfect realization of that door into the mind that Jekyll is so keen to unlock. Another key piece is a wooden table on castors: an examining table, displaying corpses for medical students in one scene, later becoming the bed at the hotel Jekyll checks into and where he meets Elizabeth (Stephanie Barone), the woman Hyde loves. Orderlies/servants played by assistant stage managers Kristin Myers and Jamie Zhuravel, along with the cast, shift the set pieces and furniture, changing the scenes with choreographed precision.

The use of four Hydes is particularly interesting – and the four actors, including one woman, each bring different colours to the character. Coculuzzi, the Hyde who falls in love with Elizabeth, is a wounded animal, instinct pushing him to lash out, but finding peace and calm in a woman’s love. Flett is menacing as the rough and course Hyde, while Perks finds his diabolical side and Sellers the smooth, charming tones. And Irving gets a chance to find the savagery in Jekyll, as the lines between him and Hyde blur near the end of the play and he can no longer distinguish between his “good” and “bad” self.

Levkoe has an excellent cast to take us on this trip, which also features Coculuzzi’s daughter Cabiria Aquarius as the Little Girl. Barone is brave and tender as Elizabeth, seeing beyond the surface of Hyde’s brutality into his pain, as well as Jekyll’s torment. Coculuzzi (also Dr. H.K. Lanyon) and Flett (as lawyer Gabriel Utterson) do a nice job of switching back and forth from their respective Hydes to supportive friends of Jekyll. Perks and Sellers do a great job of juggling mini-casts of their own, with Sellers playing male and female characters, including Jekyll’s servant Poole and one of the Hydes, and Perks shifting from arrogant surgeon Sir Danvers Carew to a wry-witted private investigator and Hyde, among others.

Dr. Jekyll and Mr. Hyde is a chilling, compelling – at times darkly funny – journey into the dark side of the mind. As bad as you know it’s going to get, you can’t help but be fascinated by this story. And the four Hydes on the stage, shifting in and out from other characters, remind us of the potential for cruelty that lies within all of us.